This is fantastic advice, and I personally think this is the way comic creators should think about luck.
You can only take advantage of an emergent audience if you have a decent amount of content that's as well-polished and easy to get into as you can reasonably make it.
There could be a scenario like say, you are making a comic about knitting, and it's really polished and well-presented, and people seem to enjoy it, but it doesn't have a huge following because people on the platform aren't that into knitting. Suddenly! A famous creator comes to Tapas with their new comic about knitting! Tapas obviously does a publicity blitz on this, and new people flood Tapas, and they want more comics about knitting! Tapas staff go "Quick! We need 4 more comics with similar themes to put in feature collections to tempt these new people to read more content and make us money!" and they search tags and find you. "PERFECT!" You have 50 pages of a very nice comic that is up to the standard of Tapas' front page on the subject that happens to be the new hotness.
To be the right person at the right place at the right time, you need to work as hard as you can on the "being the right person" part (the easiest part to have any control over, though market research can help with the "time" part and putting yourself out there for lots of opportunities and making lots of contacts helps with the "place" part). Your chances are so much higher if you require no training or hand-holding and already have a product ready to go. If what you have is a good idea and potential, but still not-quite-publishable skill level and a patchy portfolio, there's a non-zero chance a publisher will look at what you're doing, go to one of the more seasoned artists they have on their books and say, "make something like that, but more suited to our audience and ready to publish" (I've had this happen early in my career, and it stung all the more because I knew the guy they got to make something similar to what I'd submitted, but more polished because he had more experience and training), because it's so much faster, easier and has a more reliable chance of success to get somebody they definitely know can do it to do it than to risk training you up to do it to their standards. You have to already be doing it the best, so that spending time and money to get somebody else to try to do it is pointless and it's cheaper and lower risk to just buy yours, so publishers just do that
This does, as @TheLemmaLlama points out, make things unfairly skewed in favour of those who happen to have been born rich, married rich or be living in the right place. If you don't have these advantages you kind of just have to work harder to get around them finding other opportunities. For example, in my case, being from Cumbria (the most sparsely populated county in England, most of it is a national park and it has one (quite small) city, located right up at the opposite end from where I was born with a bunch of mountains in the way) was a huge disadvantage when I started out; I had no contacts, there was nobody in my area to learn from, in those pre-broadband days there was no way to order the equipment the few books I could find on comics (often very old) said I needed, and local shops didn't stock it, so I had to do a lot of research and making contacts and trying to painstakingly reverse-engineer comics through experimentation with the materials I could get. Conversely, with online comics, I benefit from the luck of being an English-speaker by birth. Other people have to first become fluent in English just to have a chance of making a popular webcomic.
...But these factors do sometimes balance each other out. If English isn't your first language, you might benefit from uploading in more than one audience and have a strong niche as one of the best webcomics in your genre in your native language, while in English, you could be "just another pretty good comic among thousands of that level". If, like me, the high technical bar for entry locked you out of print comics, so you learned to make webcomics instead, you could have a head start on the print creators who are now trying to transition to web without familiarity with the pacing, style or audience. The exception is having money. Very little can truly balance out the advantage of "being rich" unfortunately, so if you're not rich, you seriously just have to work extra hard and it suuuuucks.... but I have seen people succeed anyway with that!
